An entombing of Christ by Raffaellino, is in the Servi; a very beautiful picture, but the colouring is less firm; and there is another of his works at S. Angelo with S. Michael, and S. Sebastian, who humbly presents an arrow, a type of his martyrdom, to the infant Jesus and the Virgin. In this the composition is simple but graceful in every part. A picture of our Lady, with S. Sebastian, S. Rocco, and a canonized bishop, painted in a similar style, is to be seen in the church of S. Francis of Cagli; in it the figures and the landscape much resemble the manner of Raffaello. His Apostles in the sacristy of the cathedral of Urbino are noble figures, draped in a grand style, in small oblong pictures, firmly coloured. The Olivet monks of Gubbio have in one of their chapels a Nativity by Raffaellino, and two pieces from the history of S. Benedict, painted in fresco, in which he was, I believe, assisted by his scholars. The former is certainly superior to the two last, although he has introduced in them real portraits, finely conceived architecture, and added a figure of Virtue in the upper part, that seems a sister of the Sybils of Raffaello. He also painted, in the castle of Perugia, and in the _Imperiale_ of Pesaro, a villa of the duke of Urbino, to whom he afforded more satisfaction than the two Dossi. After having assisted Raffaello and Giulio, he disdained not to paint after the designs of less eminent artists. On the arrival of Charles V. at Florence, in 1536, he assisted Vasari, who was one of the decorators; and he painted cartoons after the designs of Bronzino, for the tapestry of Cosmo I.; after which period I do not find him mentioned. Another instance of his diffidence is the following: on the arrival of Rosso at San Sepolcro, Raffaellino, out of respect to that artist, gave up to him an order for a picture which he was to have executed; a rare instance among painters, who are in the habit of using kindly those artists only, who come merely to see a city, and immediately leave it. He kept a school at San Sepolcro, whence proceeded Gherardi, Vecchi, and other artists, some of whom, perhaps, surpassed him in genius; but they did not equal him in grace, nor in high finish.